Period:Unknown Production date:1368-1398
Materials:silk
Technique:painted
Dimensions:Height: 120.50 centimetres (image) Height: 204 centimetres (scroll) Width: 44.90 centimetres (image) Width: 57.80 centimetres (scroll)
Description:
Hanging scroll. Painting by Chen Yuan (fl. mid 14th century). Two figures in landscape. Inscriptions in three styles of calligraphy and one seal. Painted in ink and colours on silk.
IMG
Comments:Rawson 1992:Portraiture sometimes relied on symbolic or metaphorical means to represent the subject; for example, the figure could be placed in a setting that presented to the viewer a supposed projection of the subject’s mind. In this particular portrait, both the prominent pine tree, symbolising strength and enduring virtue, and the archaistic ‘blue and green’ Tang style of landscape serve to enhance the intellectual and moral qualities of Xia Zhenyi. ’13. The attribution to Ch’ên Chung-fuh is probably correct.”ie Ch’ēn Yuän’ ‘Portrait of Hsia Chēn-i painted by Ch’ēn Yuän at the request of Hsia’s son. Hsia lived at the end of the Yüan dynasty. The inscription is by Wu Ssŭ-tao, early Ming.’ (unattributed annotations in the specially interleaved Japanese Study Room copy of Anderson 1886)
Materials:silk
Technique:painted
Dimensions:Height: 120.50 centimetres (image) Height: 204 centimetres (scroll) Width: 44.90 centimetres (image) Width: 57.80 centimetres (scroll)
Description:
Hanging scroll. Painting by Chen Yuan (fl. mid 14th century). Two figures in landscape. Inscriptions in three styles of calligraphy and one seal. Painted in ink and colours on silk.
IMG
Comments:Rawson 1992:Portraiture sometimes relied on symbolic or metaphorical means to represent the subject; for example, the figure could be placed in a setting that presented to the viewer a supposed projection of the subject’s mind. In this particular portrait, both the prominent pine tree, symbolising strength and enduring virtue, and the archaistic ‘blue and green’ Tang style of landscape serve to enhance the intellectual and moral qualities of Xia Zhenyi. ’13. The attribution to Ch’ên Chung-fuh is probably correct.”ie Ch’ēn Yuän’ ‘Portrait of Hsia Chēn-i painted by Ch’ēn Yuän at the request of Hsia’s son. Hsia lived at the end of the Yüan dynasty. The inscription is by Wu Ssŭ-tao, early Ming.’ (unattributed annotations in the specially interleaved Japanese Study Room copy of Anderson 1886)
© Copyright
The copyright of the article belongs to the author, please keep the original link for reprinting.
THE END